My Take on the Movies - DIARY OF A MAD BLACK WOMAN
Tyler Perry’s Diary of a Mad Black Woman (2005) opened in theaters this weekend. I went to see it on opening day with no expectations, and I was not disappointed. The movie is based on Perry’s stage play of the same name, and it retains the feel of that particular genre of play, as I had anticipated.
Attorney-of-the-Year Charles McCarter (Steve Harris) decides on the eve of the 18th anniversary of his marriage to Helen (Kimberly Elise) that their marriage is over. Having no skills and nowhere else to go, Helen moves in with Madea, her gun-toting, wise-cracking grandmother (Tyler Perry), and Madea’s obnoxious brother Joe (also Perry). Madea tries to encourage a reluctant Helen to take back what is rightfully hers, except that everything apparently belongs to Charles. Helen has gone into the marriage for love, with her eyes closed. Unfortunately, she has kept her eyes closed for all of the 18 years, and totally oblivious, has missed all of the overt clues.
Helen’s cousin Brian (also played by Perry) agrees to represent her in the divorce. Against her will, he sets her up with his friend Orlando (Shemar Moore), the very gentleman whom Charles paid to escort her off of his property. Orlando says all of the right words, whispers everything a hurt woman wants to hear, and looks good doing it. It requires no genius to figure out where this is heading.
Diary is sort of a musical comedy, but sadly, the most comedic parts have been shown a million times in the previews. The remainder of the jokes are predictable, and although there was quite a bit of laughter coming from the front of the theater where I attended, this cliché-ridden movie is just not that funny.
The musical selection is not outstanding, with the exception of two numbers -- one rousing gospel song at the end, and one lovely ballad sung by Chandra Young onstage at the jazz club in the “first date” scene. The obligatory electric slide scene is done to the 1976 hit “Dazz” by Brick. Nothing else is really memorable.
The plot itself is a bit better than most of this ilk; however, there are serious flaws in the execution. Helen, the discarded and allegedly “mad” black woman, never seems “mad” at all. Except when she is getting her minimal revenge, she is as serene and pleasant as a spring day. By contrast, Madea’s character is considerably over the top, both in appearance and in her activities.
The one truly credible character is the cousin’s wife and Helen’s former best friend, Debrah (Tamara Taylor). The emotion she displays in her interactions with Helen, and with her daughter Tiffany, are nearly tear-rending. In the scene where she tries to convince the soft-hearted Brian to take her back, she has the junkie bit down pat. At the end she bursts into the church and joins in with the choir, but while the scene is touching, it is a little bit too reminiscent of The Color Purple to suit my taste.
Also appearing in the film are Cicely Tyson, Mablean Ephriam (Divorce Court), and Donnie McClurkin. It is co-produced by Perry and directed by Darren Grant.
I paid my $6.00 (bargain matinee) and I supported the brother as requested. Beyond that, I don’t think you can ask any more. As the man said, “different strokes for different folks.” No offense, but next time I think I’ll just pay at the box office and sneak in to see something more to my liking.
[© 02/26/2005]
Attorney-of-the-Year Charles McCarter (Steve Harris) decides on the eve of the 18th anniversary of his marriage to Helen (Kimberly Elise) that their marriage is over. Having no skills and nowhere else to go, Helen moves in with Madea, her gun-toting, wise-cracking grandmother (Tyler Perry), and Madea’s obnoxious brother Joe (also Perry). Madea tries to encourage a reluctant Helen to take back what is rightfully hers, except that everything apparently belongs to Charles. Helen has gone into the marriage for love, with her eyes closed. Unfortunately, she has kept her eyes closed for all of the 18 years, and totally oblivious, has missed all of the overt clues.
Helen’s cousin Brian (also played by Perry) agrees to represent her in the divorce. Against her will, he sets her up with his friend Orlando (Shemar Moore), the very gentleman whom Charles paid to escort her off of his property. Orlando says all of the right words, whispers everything a hurt woman wants to hear, and looks good doing it. It requires no genius to figure out where this is heading.
Diary is sort of a musical comedy, but sadly, the most comedic parts have been shown a million times in the previews. The remainder of the jokes are predictable, and although there was quite a bit of laughter coming from the front of the theater where I attended, this cliché-ridden movie is just not that funny.
The musical selection is not outstanding, with the exception of two numbers -- one rousing gospel song at the end, and one lovely ballad sung by Chandra Young onstage at the jazz club in the “first date” scene. The obligatory electric slide scene is done to the 1976 hit “Dazz” by Brick. Nothing else is really memorable.
The plot itself is a bit better than most of this ilk; however, there are serious flaws in the execution. Helen, the discarded and allegedly “mad” black woman, never seems “mad” at all. Except when she is getting her minimal revenge, she is as serene and pleasant as a spring day. By contrast, Madea’s character is considerably over the top, both in appearance and in her activities.
The one truly credible character is the cousin’s wife and Helen’s former best friend, Debrah (Tamara Taylor). The emotion she displays in her interactions with Helen, and with her daughter Tiffany, are nearly tear-rending. In the scene where she tries to convince the soft-hearted Brian to take her back, she has the junkie bit down pat. At the end she bursts into the church and joins in with the choir, but while the scene is touching, it is a little bit too reminiscent of The Color Purple to suit my taste.
Also appearing in the film are Cicely Tyson, Mablean Ephriam (Divorce Court), and Donnie McClurkin. It is co-produced by Perry and directed by Darren Grant.
I paid my $6.00 (bargain matinee) and I supported the brother as requested. Beyond that, I don’t think you can ask any more. As the man said, “different strokes for different folks.” No offense, but next time I think I’ll just pay at the box office and sneak in to see something more to my liking.
[© 02/26/2005]
posted by A. L. "Toni" Anderson at 11:36 PM
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